Ethics in storytelling
Over the weekend at a Screen South Feature Development Lab I attended, we grappled with a key issue that is central to the integrity of narrative work: Who is best placed to tell certain stories?
This question is particularly poignant as I develop The Ogress of Fez, a film set in 1930s Morocco, a place and period far removed from my own life experiences.
Though I am of Moroccan descent, not having been raised there sometimes leads me to question my right to tell this story. Many storytellers find themselves navigating a delicate balance - straddling personal connections, historical accuracy, and cultural sensitivity. The workshop leader expressed concerns about potential reliance on stereotypes or clichés in my approach, which is a valid worry. History is filled with narratives that do harm by reinforcing simplistic and damaging stereotypes, often due to a lack of deep, respectful engagement with the subject matter.
In mainstream media, there’s a tendency to simplify stories to appeal to broad audiences, often at the expense of the truth of the characters’ cultural and historical contexts. Such portrayals can perpetuate misconceptions and biases, which I am determined to avoid. My intention is to delve deeper, to move beyond the exotic façade that has characterised Western portrayals of Eastern stories.
As our lab mentor highlighted, filmmakers like Chloé Zhao demonstrate that it is indeed possible to tell authentic and respectful stories beyond one's personal experiences. Zhao’s success with Nomadland serves as a compelling example of how deep understanding and a thoughtful approach can bridge cultural and experiential divides, allowing filmmakers to craft profound narratives that resonate widely.
The concerns about my intentions, highlighted by our workshop leader, remind me that good intentions are not enough on their own. They must be accompanied by a rigorous approach to storytelling, which includes comprehensive research and maintaining a dialogue with those directly connected to the culture and history being portrayed. Engaging with Moroccan historians, involving voices of Moroccan descent in the creative process, and listening to feedback during consultations are crucial steps.
The process of storytelling itself needs to be introspective and adaptable. As I gain more insights and receive feedback, the narrative of The Ogress of Fez must evolve to reflect a deeper understanding and respect for the material. It’s about crafting a film that not only tells a story but does so in a way that enriches the viewer's understanding of a time and place that has often been overlooked or misrepresented.
Beyond simply recounting events, I aim to reconstruct the emotional and social realities of a turbulent period in Moroccan history. I want to portray the lives of individuals with depth and dignity, focusing on their struggles and resilience without resorting to sensationalism or romanticisation.
My goal is to contribute a piece of cinema that respects its subjects and educates its audience, offering a nuanced view that challenges the stereotypes commonly seen in film. This commitment to authenticity and depth is my guiding principle as I continue to develop this project.